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    Mirzoyan Studio models Bursa Bar in Kyiv on musical instrument

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    This hotel bar in the centre of Kyiv, Ukraine, was designed by Mirzoyan Studio to have plywood panelled walls and a green latticed ceiling to improve acoustics.

    Bursa Bar opened earlier this year in the city’s historic Podil neighbourhood, on the first floor of the boutique Bursa Hotel.
    Bursa Bar was designed to look like the inside of a speaker or musical instrumentThe 55-square-metre cocktail bar was designed by Mirzoyan Studio founder Nastia Mirzoyan as a place for music lovers, hoping to attract “vinyl record enthusiasts and live-set lovers every weekend”.
    “The architect’s idea was to create a space reminiscent of a musical instrument, where every visitor would feel like they’re inside a giant music speaker or guitar, surrounded by a cosy atmosphere of plywood,” said the team.
    The space is lined with dark-stained plywood as a nod to contemporary Japanese designThe interior is lined with dark-stained plywood as a nod to contemporary Japanese design.

    The material forms evenly spaced wall panelling, simple bench seating and shelves for displaying liquor bottles and vinyl records.
    The space includes a DJ booth and an extensive vinyl record collectionA grid of wooden boards creates a coffered ceiling that helps to dampen echoes and improve acoustics in the space, as well as preventing the sound from travelling to guest rooms above.
    This results in a lower ceiling height but allows lighting and ventilation systems to be hidden inside while creating a more intimate atmosphere within the bar.
    Plywood is also used for built-in seating, accompanied by furniture with stainless steel legs”In our design, we aimed to subtly implement the features of Eastern style: orthogonal lines, clean shapes, horizontal orientation of objects, vertical rhythm of walls, and orthogonal ceiling,” Mirzoyan said.
    Furniture with stainless steel legs is pushed to the edges of the rectangular room, with the bar and accompanying stools on one side, and a row of small high-top tables along the built-in bench on the other.
    The bar counter front is clad in ochre, white and dark green relief tilesStraight in front of the entry door is a DJ booth, also crafted from plywood, behind which the extensive vinyl record collection is stored.
    The centre of the space is left empty as a dance floor, where guests can move freely to sounds from the Ojas speakers.

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    The front of the bar counter is clad using relief tiles in ochre, white and a dark forest green hue that matches the ceiling and the Flowerpot lamps by Verner Panton, which illuminate some of the tables.
    Extra seating is provided at stainless steel counters installed in the window niches on either side of the door.
    Additional seating is provided at stainless steel counters installed in window nichesThe lighting scheme is fully adjustable to create different atmospheres in different areas of the room.
    “We combined accent lighting for guest seating areas, creating small bright spots, and used soft linear lighting to emphasize vinyl shelves and exquisite drinks,” said Mirzoyan. “This way, every guest feels special.”
    Sound from Ojas speakers is improved thanks to the coffered ceilingDespite Ukraine’s ongoing war with Russia, several projects have completed in Kyiv – from a laser clinic with futuristic interiors to a dance studio outfitted with custom furniture made from materials sourced in the face of wartime shortages.
    Other spots for drinking and dancing in the city include the Virgin Izakaya Bar in a former arsenal building, which was shortlisted in the restaurant and bar interior category of Dezeen Awards 2021.
    The photography is by Yevhenii Avramenko.

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      Sullivan’s Fish Camp designed so “guests can’t be sure if it’s 1982 or 2024”

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      South Carolina-based studios SDCO and Basic Projects have overhauled a seaside restaurant in Charleston with a nostalgic design that extends across everything from interiors to memorabilia.

      Contemporary details feature throughout the redesigned Sullivan’s Fish Camp, but are interwoven with retro elements to create an aesthetic that respects the restaurant’s long history.
      Sullivan’s Fish Camp is a family-owned diner that first opened in 1988Located on Sullivan’s Island, at the entrance to Charleston Harbor, the family-owned diner has been serving cold beers and seafood to locals and beachgoers for over 35 years.
      Amy Pastre and Courtney Rowson of brand strategy studio SDCO worked closely with Kate and Ben Towill of interiors studio Basic Projects to bring a cohesive visual identity throughout.
      Large hand-painted letters boldly spell out the restaurant’s nameBold typography, cartoon-style illustrations, vintage art and furniture, and playful messaging all feature in the reimagined restaurant experience.

      “The design intent was to create a world that conjures the delight and affection that generations of beachgoers had for the original, family-owned restaurant,” said Pastre and Rowson.
      “Some details feel modern, some nostalgic. Experienced together, guests can’t be sure if it’s 1982 or 2024.”
      The graphic design identity includes drawings of the building’s exteriorOn the outside, Sullivan’s Fish Camp is spelt out in large hand-painted letters across a projecting red roof canopy, identifying the restaurant as a local landmark.
      Other graphic-design identifiers include drawings of the building’s exterior and two hand-drawn characters: a “cheery flounder” and Captain Sully, a “salty sea captain-meets-fish”.
      Both vintage and contemporary artworks cover the wallsThe restaurant’s interior walls are covered in artworks that continue the seaside and maritime themes, from a stitched portrait of a fisherman to a lobster painting by local artist Katherine Dunlap.
      Commissioned works include fish illustrations by “Carolina legend” Duane Raver, whose work also features on the placemats, and a large sculpture of a marlin fish.

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      “It was important to preserve what felt inherently right for the story and space,” said Pastre and Rowson.
      “We wanted to pay homage to seaside fish camps while bringing modernity to the brand and experience,” they said. “No corner was left untouched.”
      Artworks include a stitched portrait of a fishermanThe designers commissioned a local joiner to build furniture elements, including tables, seating banquettes, and a counter that frames the merchandise display and walk-up ice cream window.
      Basic Projects sourced many of the other furniture and lighting elements from antique markets, as well as from Ebay and Etsy. A stained glass pendant lamp is one of the most striking finds.
      “My background is in film set design, so I loved every bit of the sourcing,” said Kate Towill.
      A counter frames the merchandise display and a walk-up ice cream windowDurability was an important consideration; heavy rain and high tides can cause the restaurant to flood, while beachgoers bring plenty of sand in on their feet.
      “We welcome sandy and salty beachgoers,” said Towill.
      “The floors are VCT (vinyl composition tiles) and all the wood is pressure-treated and sealed with marine-grade sealer.”
      Illustrations by “Carolina legend” Duane Raver feature on the placematsSDCO designed an extensive range of merchandise, including key chains, hats, tote bags, sweatshirts, T-shirts, bottle openers and bumper stickers.
      Custom design also extends to the tableware.
      Cups are emblazoned with the Sullivan’s Fish Camp branding, while plates feature scalloped seashell illustrations that reference the border of the original 1988 menu.
      T-shirts feature Captain Sully, a “salty sea captain-meets-fish””The result is a feel-good space that quite literally takes you on a journey through food, drink, design, nostalgia and souvenirs that create indelible memories,” added Pastre and Rowson.
      Sullivan’s Fish Camp is the latest in a series of notable design projects in Charleston, a town that has seen an influx of creatives over the past decade.
      Others include boutique hotel Post House, also designed by Basic Projects, and the newly opened International African American Museum, designed by Pei Cobb Freed & Partners and Moody Nolan.

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      Marmol Radziner creates club space in modernist Park Avenue skyscraper

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      The third floor of the iconic Lever House skyscraper in Midtown Manhattan has been renovated by architecture firm Marmol Radziner to complement the building’s original modernist design.

      Marmol Radziner completed the interiors for the Lever Club within the office tower at 390 Park Avenue, which was designed by Skidmore, Owings & Merrill in the International style and completed in 1952.
      The entrance to Lever Club is lined with green marble flooring and soapstone wall panelsSOM finished restoring the building last year, after it was purchased by developers Brookfield Properties and WatermanClark in 2020, and Marmol Radziner worked on updating its communal spaces that had fallen into disrepair.
      “Lever House is a globally renowned architectural marvel, symbolising the era’s shift to modern skyscrapers,” said Marmol Radziner.
      The green hues used through the interior nod to the colour of the building’s curtain wall facade”Recognised with the prestigious Twenty-five Year Award from the American Institute of Architects (AIA), the building remains an icon of architectural excellence,” the studio added.

      Originally a cafeteria and repurposed several times over the years, the third floor now serves as a lounge, bar and dining space that continues onto a terrace projecting from the tower’s elevated base.
      The club’s layout revolves around “a series of paneled volumes”Design cues were taken from SOM partner Gordon Bunshaft’s own residence, and other modernist masters, to create an interior that feels in keeping with the building’s history and architecture.
      “From the beginning, we felt that the design of Lever Club should feel like a sympathetic insertion within the iconic curtain wall of the building,” said Marmol Radziner partner Ron Radziner.
      The bar is bookended by rosewood volumes and backed by a screen from John Lewis GlassThe club is entered via a lobby area where floors and walls are covered in panels of green marble and soapstone, contrasted by a simple cuboid reception desk made from wood.
      Inside, the layout revolves around “a series of paneled volumes set within the glass perimeter, taking advantage of the views and access to the most superbly sited outdoor terrace in the city”, according to Radziner
      The dining area overlooks an expansive terrace on top of the building’s elevated baseThe marble flooring, which echoes the green hues of the building’s pioneering facade, extends into the lounge area where tone-matched carpet demarcates soft seating areas.
      Many of the armchairs and sofas are upholstered in a complementary green hue, while chocolate-coloured leather is used to cover other seating options such as bar stool and banquettes.
      The curved banquettes are wrapped in chocolate-brown leather”The furnishings, largely bespoke, respond to and soften the hard edges of the architecture with plush texture and rich tones most often seen in a residential setting,” Radziner said.
      Rosewood tables match the large vertical elements that bookend the bar, which is backed by a John Lewis Glass patterned screen.

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      Aluminium also appears as table bases and chair frames that echo the slender window mullions.
      “It was important to us that the design respond intelligently and reverently to the building while also creating a real sense of comfort, warmth, and luxury,” Radziner said.
      Aluminium chair frames echo the slender window mullionsThis isn’t the first time that Marmol Radziner has created interiors for a SOM-designed skyscraper – the firm was also behind the penthouse at Fifteen Fifty in San Francisco, which was temporarily turned into a collectible design gallery in 2021.
      Earlier this year, Marmol Radziner completed California’s tallest residential skyscraper in Downtown Los Angeles.
      Lever Club can be used by the building’s tenants during the day and at nightLever House is one of several Manhattan office towers from the mid to late 20th century to have been retrofitted in recent years, aiming to attract new tenants.
      Among them are the postmodern AT&T Building by Philip Johnson, which was rebranded as 550 Madison after it was overhauled by Snøhetta and its lobby was transformed by Gensler.
      The photography is by Scott Frances.

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      Rudy Guénaire draws on American modernism for Matsuri restaurant interior

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      French designer Rudy Guénaire has created the interiors of Japanese restaurant Matsuri in Paris, combining wooden furniture covered in lacquer with pastel-coloured domes informed by Frank Lloyd Wright.

      Located in Paris’ 16th arrondissement, the 200-square-metre restaurant was given a full redesign by Guénaire.
      As the menu focuses on “Japanese sushi from a Californian angle”, Guénaire drew on Japonisme – the Western fascination with Japanese design – for its interior.
      Matsuri is located in Paris’ 16th arrondissement”I drew on everything that has marked me from these two countries that I adore,” Guénaire, who runs Nightflight Studio, told Dezeen.
      “From Japan, I took this idea that fascinates me, which is that the Japanese frame everything,” he added.

      “As if everything had to be an island, firmly delimited by something that protects it and makes it unique.”
      Rudy Guénaire referenced American modernist design for the interiorThe American influence comes across in the shapes used to decorate the interior, which features colourful ceiling domes that are lit from the inside.
      “From California, I took these incredible obliques that make me melt,” Guénaire said. “The kind you find in Frank Lloyd Wright or John Lautner’s work.”
      “A slant that recalls the Native American tent, the primordial shelter,” he added.
      “American modernists loved Japan and sometimes, they’d never even been there. It’s this Japonism that I wanted to prolong.”
      The restaurant features Japanese postersAt the centre of Matsuri is the kaiten – conveyor belt – on which the sushi comes out. The designer used wood throughout the restaurant and covered it in lacquer for this centrepiece.
      “The kaiten is covered in high-gloss lacquer, reminiscent of the beautiful lacquer worshipped by the Chinese and then the Japanese,” he said.
      “I used wood throughout because in Japan, everything is made of wood, that’s just the way it is and has to be!”
      The central kaiten was covered in glossy lacquerPastel-hued domes decorate the ceiling above the kaiten, creating soft lighting and adding a touch of colour to the mainly white and wood interior.
      “For the ceiling, I think I got the idea from the amazing ceiling of Frank Lloyd Wright’s Penfield House,” Guénaire said.
      “I used industrial skydomes that I turned upside down and lit from the inside.”

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      The colour was toned down to create the right atmosphere for the restaurant.
      “We set up a sophisticated lighting system with very subtle colour control,” Guénaire added.
      “I chose cheerful, very American colour bases, and then, we subtly desaturated them to approach the Japanese aesthetic where nothing is ever garish.”
      Guénaire added pastel-coloured domes to the ceilingGuénaire also designed chairs for Matsuri that draw on those found in traditional Izakayas – Japanese pubs – though he says the original ones don’t correspond to his memories of them.
      “While searching for photos of Izakaya, I never found this chair shape,” the designer said.
      “Yet, as I recall, it’s exactly this chair that I’ve seen everywhere. All small and cute,” he added.
      “Maybe that’s what Japonism is all about. You invent a lot when you think you’re bringing back memories.”
      The designer created chairs that reference Izakaya furnitureThe interior of Matsuri, which is part of a restaurant chain founded in 1986 by a French-Japanese couple, is also decorated with old posters brought back from Japan.
      “We always have friends coming back from Japan. We asked them for a little help!” Guénaire said.
      Other Japanese restaurants on Dezeen include a sushi restaurant and sake bar with oxblood tiles and the Aragawa steakhouse selling “UK’s most expensive steak”.
      The photography is by Ludovic Balay.

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      Xanadu is a “fun and maximum” roller disco in Brooklyn

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      Local entrepreneur Varun Kataria has unveiled a venue with a mix of colourful, retro details that contains the only permanent roller rink in New York City.

      Set in Bushwick, Brooklyn, Xanadu occupies a former industrial warehouse, which was converted by Kataria and his team, who also run the nearby restaurant and venue Turks Inn and Sultan Room.
      Xanadu is a multi-functional space with a massive roller rink in BrooklynThe multi-functional space now contains a roller rink, stage, bar area and large bathrooms, one of which can be converted into a smaller “club within a club”.
      According to Kataria, the space originally had columns throughout, but to make a large enough surface for an uninterrupted roller rink the ceiling needed to be supported without columns.
      It includes a mix of colours and patternsWorking with a local architect friend, Kataria created a structure around the existing structure, suspending the ceiling from the superstructure in order to support the weight, essentially creating a second ceiling.

      This allows for a wide space centred around the hand-painted, maple-wood rink, but without sacrificing details for the attendant spaces.
      Plentiful seating lines the leisure spaces around the rinkThe result is a “fun and maximum” space that contains a dizzying mix of patterns and colours.
      At the entrance, a desk was placed to rent out custom skates. From here, a walkway passes under an archway anchored by a sofa that wraps around a pole. Guests pass a long bar and on the wall across from it are raised seating areas.
      Banquet seating wraps the far side of the space and throughout, multiple entryways have been placed to give access to the massive rink.
      It has a massive maple wood roller rinkThe ceiling has incongruous shapes cut into it with track lighting. Kataria said that the Memphis Group design movement in part influenced the shape, giving the space the sense of an “elevated adult day care.
      “It’s not afraid to be playful,” said Kataria. “And the relationship with color became a real joy.”
      A stage sits adjacent to the ringHe added that the combination of many influences and time-periods was meant to have an “uncanny” effect on the visitors.
      Details such as infinity mirrors in the long sloping bar, colourful patterns in the carpet and vinyl surface coverings – almost every vinyl surface has a different pattern – create a mix of historical time periods that Kataria said work together to “push nostalgic buttons”, while being contemporary.

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      He said that the idea was to revive a entertainment form that people often associate more squarely with the past.
      “I’m not gonna say it’s an industry in decline, but the spaces themselves are in decline, right?” Kataria told Dezeen.
      “They’re usually old. But there’s more skaters than ever now. So I think as a cultural practice, it’s exploding, you know, with new energy.”
      One bathroom can be converted into a mini clubThe bathrooms are mostly monotone – one red and one blue. The red one has a hidden DJ set up so that it can become Club Flush.
      Other recent rinks include an ice skating rink built in Canada by architecture studio Lemay, which it says is the largest in the world.
      The photography is by Matt Harrington.

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      Quincoces-Dragò & Partners creates “relaxed, seductive ambience” for Mayfair restaurant

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      Architecture studio Quincoces-Dragò & Partners has unveiled The Dover restaurant in Mayfair, London, which was informed by art deco design.

      The first solo venture from Martin Kuczmarski, formerly group COO at Soho House, the restaurant was designed to be “unpretentiously elegant” and have a “relaxed, seductive ambience”.
      The long, narrow restaurant was made up of a series of dimly-lit spaces that were designed to be gradually unveiled.
      The interiors feature extensive panelling in American walnutEntering from the street, the fully glazed reception area is separated from the restaurant with a dramatic velvet curtain in deep burgundy.
      On parting the curtain, a long central corridor leads – across a black and white marble chequered floor – past a bar on one side, and open-plan and banquette seating on the other.

      The chequered runway continues between the bathrooms and private dining booths, before ascending a few steps into an intimate wood-panelled dining room “reminiscent of a bygone era of fine dining”.
      Curved dining booths feature Murano glass chandeliers”The space itself is challenging – long and narrow with a major corridor connecting the main areas, which is where we ended up creating the most intimate booths of the whole restaurant,” David Lopez Quincoces and Fanny Bauer Grung of Quinconces-Dragò & Partners told Dezeen.
      The three private dining booths, in curved dark wood panelling, each feature a Murano glass chandelier by Venini.
      Curved wood panelling is used in the dining roomKuczmarski described the spaces of The Dover as “a buzzy bar, intimate dining booths, and then the main dining room”.
      “The shape of the space has become part of the customer journey,” he added.
      Kuczmarski worked closely with Milan-based Quincoces-Dragò & Partners on the design, aiming for a “contemporary art deco vibe” achieved through dim lights, curved American walnut panelling, contrasting textures and the chequered floor.
      Lighting fixtures are a mix of modern and art decoWood panelling is the main element in the restaurant, which the designers said “creates intimacy whilst nodding to tradition”.
      The curved panelling for the dining booths is echoed in curved corners and ceilings of the main dining room, which is a fully panelled space.

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      Velvet upholstery was chosen, in part, to manage the acoustics – a “fundamental aspect when designing the space”, Quincoces and Grung explained.
      The black and white chequerboard floor was made from nero marquinia and calacatta marble, which are both characterised by a veined appearance, softening the solid colour.
      Brass accents feature throughoutBrass lamp stands, with shades reminiscent of wood veneer, line the bar.
      The design of the interiors is “simple and straightforward when looking at it plainly, but rich with many details as you discover it piece by piece” said the designers.
      “The secret to good design is detail, detail, and more detail – and above all proportions!”
      Three private dining booths make up one area of the spaceRelief from the comprehensive wood-panelling comes in the form of red lacquered display cabinets.
      Wall lights with art deco glass sconces and a curved corrugated perspex panel in the dining room further break up the wood panelling.
      A curved corrugated perspex panel breaks up the wood panellingThe panel traverses from wall into ceiling in the dining room and functions as a “non-window” to prevent the space from feeling confined in wood panelling.
      With Kuczmarski, Quincoces-Dragò & Partners worked to create “an atmosphere that is welcoming – one that, as Martin says, ‘makes you feel good at first glance'”.
      The central corridor leads past the bar through to private booths and dining room beyond”The spirit of art deco – which is serious but playful, lush while elegant – inspired us tremendously when Martin spoke to us of his idea for The Dover,” Quincoces and Grung explained.
      Other Mayfair restaurants recently featured on Dezeen include Tutto Bene’s “sombre elegance” for the interiors of Nightingale and Japanese steakhouse Aragawa’s London outpost, featuring Rosendale Design’s paper pendant lights.
      Photography is by Matt Russell, courtesy of The Dover

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      Neuhäusl Hunal coverts interwar cinema into “morning to night” dining venue

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      A neutral colour palette unites the restaurant, bar and shop within a former interwar cinema and 19th century stables in Prague, which has been converted by local studio Neuhäusl Hunal.

      Named Alma, after the cinema that used to occupy the site, the 800-square-metre space was renovated by Neuhäusl Hunal.
      Understated lighting accentuates the original features of the cafe spaceThe ground floor was converted into a restaurant alongside a cafe, wine bar, wine shop and garden area, while the basement level contains a bar – which doubles as a nightclub – a function hall, a fermentation room and a room dedicated to wine tasting.
      A colour palette dominated by sober, earthy tones was used to instil a laid-back yet refined atmosphere, which is the hallmark of all of operator Kro’s locations. As well as uniting various functions and purposes, the design scheme ties various architectural styles together, as the site contains a myriad of structures from a range of time periods.
      A wine shop is found on the ground floor”The Alma project is housed in three buildings – the many-times-rebuilt classicistic house and the former stables in the courtyard date back to the 19th century,” Neuhäusl Hunal told Dezeen.

      “The Alma cinema – which houses the restaurant today – was completed in 1924.”
      “There was no significant interior work to react to – except, of course, for the original historic structures and vaults, which we wanted to let shine,” the studio continued.
      The restaurant has both wooden and metallic furnishingsRepeated elements found throughout the interiors include unobtrusive lighting fixtures, which serve to provide task and ambient lighting as well as to highlight the space’s original features, and tiled walls, which gradually darken from a light beige in the cafe to a dark tone in the subterranean bar.
      In contrast with the overall muted interiors, graphic designer Jan Horčík created a bold wayfinding system characterised by chunky uppercase lettering displayed on illuminated light boxes.

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      “The sober interior is complemented by funky lightboxes, which illuminate it with their novel colours, formulations and graphic design,” said the studio.
      “Alma works from morning to night: the day starts in the cafe, lunch and dinner can be sorted out in the restaurant, and then move on to the wine bar for a drink – this naturally corresponds to their designed character, colour, and atmosphere,” it continued.
      “Logically, we treat brand-new constructions and historic ones differently – an interesting problem arises in the transitions between these spaces.”
      The bar has an intimate atmosphere thanks to its vaulted ceilingNeuhäusl Hunal has completed a number of projects in the Prague, including an apartment for a sculptor that doubles as a workshop.
      Other recent adaptive reuse projects published on Dezeen include a guesthouse in Transylvania that used to be a church and a city hall inside a former maritime structure in the Netherlands.
      The photography is by Radek Úlehla.
      Project credits:
      Client: Alma PragueBuilding contractor: AversProject documentation: LZ atelierGraphic design: Jan HorčíkArt blacksmith: Peter Demek (DEMO Works)Lighting supplier: BulbCeramic tiling supplier: KeraservisGastro: Kitchen PlanPlants: Pokojovky

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      Omar Aqeel brings “sensory fantasy” to NYC bar Only Love Strangers

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      Cobalt blue surfaces line this bar and restaurant in Manhattan’s Lower East Side, designed by Brooklyn-based Studio Omar Aqeel as a “retro-futuristic oasis”.

      On the corner of East Houston and Allen streets, Only Love Strangers is a two-level cocktail lounge, restaurant and live-music venue that draws influences from 1960s and 70s surrealism.
      Guests arriving at Only Love Strangers are greeted at a cantilevered host stand within a limewashed spaceStudio Omar Aqeel blended references ranging from Stanley Kubrick’s 2001: A Space Odyssey movie and Eileen Gray’s E-1027 villa to the sculptures of Alexander Calder for the interiors.
      “A site of sensory fantasy – especially for discerning creatives – Only Love Strangers boasts a unique aesthetic that encourages endless discovery,” said the team.
      An arched opening leads into a bar area lined floor to ceiling with cobalt blue tilesGuests who enter the 6,300-square-foot (585-square-metre) space are greeted at a cantilevered, brushed-aluminium host stand.

      Straight ahead, through an arched opening, is a bar area enveloped in floor-to-ceiling cobalt blue tiles with blue grouting.
      Banquettes are upholstered in Verner Panton’s 1969 Black and White Optik textileA brushed-aluminium bar counter has rounded ends echoed by a light fixture above, and industrial-style bar stools provide seating for seven.
      Banquettes are upholstered in Verner Panton’s 1969 Black and White Optik textile, adding space for eight more guests.
      Cobalt blue continues as an accent on seat cushions in the main dining spaceIn the main dining space, left of the entrance, the walls are covered in earthy limewash that contrasts the bright blue cushions of built-in seats.
      “Here, a voyeuristic egress allows guests to peek into the subterranean lounge, while domed dining niches with blue crescent-shaped booths provide a more intimate dining atmosphere,” the team said.
      The private dining space is decorated with a mural inspired by the Bauhaus abstract gridThe private dining space for up to 10 guests is decorated with a wall-to-wall, hand-painted mural inspired by the Bauhaus abstract grid.
      With its own entrance, this space includes Ant chairs by Arne Jacobsen for Fritz Hansen, a vintage Makio Hasuike for Seccose metro dining table, and Maru pendant lighting by Ingo Maurer.

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      Cobalt blue reappears across the basement-level lounge, where almost every surface is dressed in the bold hue.
      Aluminium accents continue in this space too, along with a variety of playful lights that add a warm glow to the cool-toned space.
      The basement-level cocktail lounge is also lined almost entirely in cobalt bluePieces by New York-based artists and designers can be found throughout Only Love Strangers, including Max Simon, Blue Green Works, Yuyu Shiratori, Nico Anon, Superabundance, Gregory Beson, Adriana Gallo, Ash Allen, and Lucas Willing Studios.
      The lounge also offers a live music program of local jazz talent in the evenings.
      The lounge features aluminium furniture and hosts live music performancesThe lively Lower East Side neighbourhood is packed with bars and restaurants, such as Italian spot Una Pizza Napoletana with “deco meets industrial” interiors.
      Boutiques that have recently opened in the area include the Le Père menswear store by BoND and the Awake NY streetwear shop by Rafael de Cárdenas.
      The photography is by Ori Harpaz.

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      Studio Ahead designs “soothing” interiors for Williamsburg wine bar

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      Taupe walls and walnut banquettes create a calming atmosphere in this wine bar in Williamsburg, Brooklyn, designed by California-based Studio Ahead.

      Named With Others, the bar on Bedford Avenue specialises in natural wines from small-production, low-impact wineries.
      Studio Ahead designed the With Others wine bar to have a soothing atmosphereSouth Williamsburg, which has seen a dramatic transformation over the past three decades – from creative backwater, to hipster locale, to commercial hotspot.
      Owner Shanna Nasiri wanted to take her patrons back to the creative spirit of the neighbourhood’s heyday in late 1990s and early 2000s.
      Industrial elements include metal-mesh shelving behind the barShe invited Homan Rajai and Elena Dendiberia, founders of Studio Ahead in San Francisco, to design the interiors with a “rough around the edges” feel.

      “This is not the Williamsburg of Hermès and homogeny, but of carefully selected wines served in a space of carefully selected artisans where you wave to the people you know across the room,” said Studio Ahead. “A neighborhood bar.”
      Walnut banquettes feature tall backs and thin cushionsThe building’s weathered facade, complete with “scratches, graffiti, patina, grime”, was left largely untouched.
      Inside, a soft-industrial aesthetic is evoked through elements like metal-mesh shelving behind the bar, fabricated by local company Wombat.
      Small square tiles cover the front of the bar counter and the floorSmall square tiles cover the floor and the sides of the bar counter, matching the Farrow and Ball paint on the walls and ceiling.
      Along one side of the space runs a series of minimalist walnut banquettes with tall backs and thin seat cushions.

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      Georg stools by Chris Liljenberg Halstrom for Fritz Hansen, which feature cushions strapped to simple wooden frames, appear in two heights.
      Artworks and objects dotted through the interior include a wooden vase by artist Ido Yoshimoto, and small dishes and bowl by ceramicist Katie Coughlin.
      With Others nods to the recent history of its Williamsburg locationOn the walls, cube-shaped washi paper lanterns by artist John Gnorski depict “Dionysian scenes of friendship and frolic”.
      The minimalist forms and muted colour palette throughout the space offer a “soothing contrast to bright loud furious New York” according to Studio Ahead.
      The building’s weathered facade was left largely untouchedWilliamsburg may have changed over the years, but it’s still one of New York City’s most popular neighbourhoods.
      Recent additions to the area include a Moxy hotel designed by Basile Studio and a Kith store with an “industrial ambiance”.
      The photography is by Ekaterina Izmestevia.

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